By Vidvan Dr A Vijay Karthikeyan, Vidvan Idumbavanam V Prakash Ilayaraja

Raga alapana-s performed on the nagaswaram have a special place in South Indian classical music. Many of the prominent nagaswaram artistes of the 19th and 20th centuries have left behind a legacy of raga alapana-s based on their creativity.

Some of the specialities of raga alapana on the nagaswaram include –

1.⁠ ⁠Volume
2.⁠ ⁠Long Karvai-s and ability to dwell on a single note
3.⁠ ⁠Fingering techniques
4.⁠ ⁠Bhriga-s
5.⁠ ⁠Usaga of Tutukara and Akara
6.⁠ ⁠Soft and Strong phraseology
7.⁠ ⁠Alapana performances by duos
8.⁠ ⁠Usage of varying speeds and pauses.

Nagaswara alapana is marked by varying starting points. There are recordings where it begins in the tara stayi. Besides, there is a tradition where when the alapana is focusing on a particular section of a raga, sangati-s from other sections are brought into play, all of which eventually dovetail into the first section. Another unique aspect is tavil accompaniment to raga alapana, in chatusra gati – this is not seen in any other instrumental performance. Likewise, after a long alapana passage, it is customary to have tavil interludes.

It cannot be denied that the temple traditions were key to encouraging long raga alapana-s. There are anecdotes of great nagaswaram artistes of the past dwelling for long on raga-s and sometimes even performing the same over several days. This is held up as an instance of their creativity and this in turn strengthened raga alapana traditions across other instruments and in vocal performances.